Dark Horse infected with antisemitism

It's sad to discover that Dark Horse's name is taking on a whole new meaning, as the Algemeiner reports one of their editors refused to enable publishing a comic by Jewish scholar Rafael Medoff, the director of the Wyman Institute, because he wouldn't take an anti-Israel and anti-American stance:

Dark Horse Comics, the third-largest comic book publisher in the United States behind Marvel and DC, has canceled the publication of a book by a Holocaust scholar after he refused to include an introduction accusing Israel of “genocide,” according to the Jewish advocacy organization StandWithUs, which condemned the move in a statement on Sunday.

Dark Horse had scheduled Dr. Rafael Medoff’s Cartoonists Against the Holocaust — a collection of 150 editorial cartoons from American newspapers of the 1930s and 1940s, accompanied by Medoff’s commentary on what Americans knew about the Holocaust as it unfolded — for publication this summer. According to StandWithUs, then-Dark Horse imprint editor Craig Yoe told Medoff, the founding director of the Washington, DC-based David S. Wyman Institute for Holocaust Studies, that he would block publication unless the book’s introduction stated that Israel is committing genocide in Gaza. Yoe later followed up in writing, the group said, demanding that the book include text accusing Israel of “war crimes and crimes against humanity” and claiming that the US operates “concentration camp-style prisons.”

Medoff refused, arguing that the claims are false, and Dark Horse subsequently canceled the project.

“Accusing Israel of genocide is a lie, and requiring a Holocaust scholar to denounce Israel to see his book published is antisemitic bullying,” Medoff said in the statement. “It’s troubling to see McCarthyism rearing its ugly head in 21st century America. Historians should be free to write about history, without being subjected to political litmus tests.”

Dark Horse had previously published two of Medoff’s books, Whistleblowers and Cartoonists Against Racism, without incident. It was only after Hamas’s Oct. 7, 2023, invasion of Israel, StandWithUs said, that Yoe began demanding that Medoff denounce Israel as a condition of publication.

Dark Horse has disputed that account. In a June 3 email to StandWithUs cited by the Israeli news outlet Ynet, the publisher’s legal counsel said the decision was based on the company’s financial needs and repeated scheduling delays, and that Dark Horse “does not plan to publish” the book. [...]

“When a comic book publisher pressures a Holocaust scholar to denounce the Jewish state before his own book on the Holocaust can see print, the irony is hard to miss,” Carly Gammill, director of legal policy and litigation at StandWithUs Saidoff Law, said in Sunday’s statement. “We are seeing an alarming trend in which Jewish professionals are expected to pass ideological tests before they can fully participate in public life.”

She continued, “Whether in academia, the arts, or publishing, Jewish authors should be evaluated on the quality of their work — not on whether they are willing to denounce a core part of their Jewish identity.”

I seem to remember this Yoe as having been a far-leftist who published anti-war comics, and that Dark Horse, whether owned now by a video game corporation, would be willing to hire this disgraceful man and practically enable him to determine what's okay to publish speaks volumes. It was already horrific they employed the disgraced Scott Allie and ignored the sexual abuse accusations against him for some time. Now, they're tainting their image even further by allowing an antisemitic dictation to remain in place. That says quite a bit about what they must think of comicdom's past Jewish contributors like Stan Lee, Jerry Siegel, Joe Shuster, Jack Kirby and Gil Kane. Also note how Mr. Yoe apparently wanted anti-American propaganda injected into the narrative, and it says a lot more about where the company could be going too. On which note, at Times Now, it says that:

Medoff alleges that editor Craig Yoe later sought to add a separate statement addressing contemporary politics. In an email dated 1 September 2025, Yoe reportedly proposed retaining the book’s existing introduction while placing an editor’s note elsewhere in the volume.

Writing in a personal capacity, Yoe accused the Trump administration of attempting to create detention centres comparable to concentration camps and of sending US residents to prisons abroad without constitutionally guaranteed trials. He also referred to the International Criminal Court warrants issued against Israeli Prime Minister Benjamin Netanyahu and criticised US military assistance to Israel.

Medoff rejected the proposed wording, arguing that it would turn a historical project into a platform for present-day political commentary. He also objected to comparisons between contemporary American detention policies and Nazi concentration camps.

The historian said such language risked diminishing the suffering of Jewish victims imprisoned and murdered in concentration camps during the 1930s and 1940s. He further argued that connecting Israel with allegations of crimes against humanity within a Holocaust publication could be interpreted as accusing the country of genocide.

Medoff described the alleged pressure to criticise Israel as antisemitic bullying and insisted that a Holocaust scholar should not be required to denounce the Jewish state as a condition for publication.

The planned book was expected to feature approximately 150 editorial cartoons. Nine of them had originally appeared during the 1940s and were intended to demonstrate how much information about the Holocaust was already available to the American public while the atrocities were taking place.

Medoff said he proposed several compromises to prevent the book from being cancelled. Among them were publishing the manuscript without changes or moving the project to another Dark Horse imprint without Yoe’s name attached, while allowing the editor to retain his four per cent royalty interest.

According to Medoff, those proposals were rejected. Yoe subsequently ended his association with Dark Horse, while the publisher formally withdrew from the project.

Interesting that despite Yoe leaving their employ, they still wouldn't publish the project. But considering they just might practically be closing down one day as a book publisher, perhaps that's one more reason why realists should stay away from them. If this is the path Yoe took, and DH is okay with, you cannot possibly expect them to publish any history books about the Danish Muhammed cartoons of the past 2 decades either, nor could you expect them to approve a project focused on survivors of September 11, 2001. This also reminds me of the time when Mike Baron was publishing Private American: if he wanted to arrange with DH to be the host publisher, they clearly rejected it. The New York Post gives one more eyebrow raising detail about Yoe:

Yoe, a former creative director for the Muppets and a longtime cartoonist, was an editor with Dark Horse as he worked on Medoff’s book. He has since severed his relationship with the publishing house.

According to On Scouting, he was hired by the late Jim Henson himself. So it looks like the Muppet franchise is now tarnished by him along with the scandal from nearly 15 years ago involving the Muppeteer Kevin Clash, who was accused of sexual misconduct. How do these entertainers end up making such poor choices for recruits?

What's interesting about this scandal is that in the past decade, if the following articles from the Jerusalem Post and Arizona Jewish News indicate, Medoff and Yoe were once on positive terms with each other. That means Yoe turned against Medoff in later years. However, Medoff should've considered earlier that somebody with a disturbing left-wing record like Yoe's was a bad lot and a poor choice for a publishing partner. And as this NPR affiliate indicates, Lee once knew Yoe (or rather, didn't), and was willing to write an introduction to a book he'd published about Joe Shuster's "fetish art". I think it'd be wise to look for another author who could cover the same ground of research.

I hope Mr. Medoff's looking for a better publisher now. Although Dark Horse may be suffering financial difficulties now, that's still no excuse for refusing to publish the latest version of Medoff's history items. Seriously, Medoff should sue both them and Yoe for interference, and perhaps look for an editor of Israeli descent (and conservative) who can work freelance on the projects instead. This is not going to look good on Dark Horse's record, for as long as they're still around, nor will it help former chairman Mike Richardson's image in hindsight.

What the Comics Journal says about Gerry Conway

The Comics Journal wrote about the history of the late Gerry Conway's career, and among the subjects in focus, it includes the death of Gwen Stacy in Spider-Man during 1973, and a most interesting part that came afterwards, which hasn't always been noted clearly in history items coming in later decades:

A year into Conway’s run, that push toward adulthood took its most celebrated and controversial form with “The Night Gwen Stacy Died,” in which Conway and co-conspirator John Romita killed both Peter Parker’s long-running love interest Gwen Stacy and longtime arch-nemesis Norman Osborne. The book became an immediate sensation: so shocked and distressed was the fan response that Stan Lee would briefly demand Conway bring back the character from death immediately (he did, kind of, in the form of a clone), and decades later it was still being used as a kind of critical shorthand for the moment Silver Age innocence in comics gave way to 1970s angst. But the scene that has always haunted me from that story isn’t about Gwen Stacy or the Green Goblin at all: it’s of Peter’s roommate Harry Osborne, delirious and desperate as he recovers from a drug overdose, begging his best friend not to walk away.

While TCJ may be one of the most left-wing periodicals around, it's amazing the writer would point out something most mainstream newspapers didn't: while Gwen wasn't resurrected, they did compromise with a clone. Strange why some MSM sources don't clearly acknowledge that. But the article fails to be clear about something else:

His output at DC was vast, peppered with an endless supply of new characters, from the successful (Firestorm, of TV’s Super Friends fame) to the less so (the streetwise era of the Justice League Detroit). “He was just always creative,” Harris said. “I remember in our plotting sessions, he would say, ‘Well, we could introduce a new character at this point.’ And he always had something in mind. I don't know if he had a backlog of them in his head, or if he created them on the spot. But it was fun to watch him come up with something.”

Wonder why they didn't discuss how Vibe and the Steel character created at the time were thrown under the bus by 1987 because George Perez didn't like the absurd accent applied to the former, in effect punishing the character instead of the writer? That was a very sad example of placing blame squarely on a fictional character, and it's one of the leading ways and reasons the industry's been brought down. And then, here's where, sadly enough, political bias shows up when the Punisher comes into focus:

Oddly enough, the Hollywood caste system being what it is, Conway was seldom involved with movie and TV projects based on his own comic book creations — one of whom in particular had been growing up without him. In 1974, Conway, along with artist John Romita, had created the Punisher as a vigilante antihero in the model of Don Pendleton’s Executioner novels. The Punisher appeared initially as a recurring foil for Spider-Man, and in later years Conway would maintain that the character was imagined as a one-off villain, and certainly not a hero in his own right.

To be sure, this wasn’t entirely ingenuous. The Punisher as originally conceived wasn’t a moral paragon, but he wasn’t a villain either, and when the character showed enough success to warrant a spinoff stories in Marvel’s black-and-white magazines, Conway obliged by writing him with the kind of hard-bitten grittiness that had made Dirty Harry a hit at the box office.

But during the early 2000s, the Punisher took on a second life of his own, becoming a kind of mascot for the American far right: “American Sniper” Chris Kyle boasted of putting the Punisher’s skull logo on his unit’s gear during the Iraq War, and by the time Donald Trump was in office, the image and character had become a meme on military and police-centric kitsch. By 2025, Kash Patel was putting the logo on challenge coins handed out to agents at the FBI.

Conway, whose own politics by then skewed toward the left, wanted none of it. “It’s as offensive as putting a Confederate flag on a government building,” he said. In 2020, amid the wave of protests following the murder of George Floyd, he decided, vigilante-style, to take matters into his own hands, selling a line of shirts bearing the logo with all proceeds donated to Black Lives Matter. A few decades earlier, it might have been different. Roy Thomas recalled that in the early ‘80s, Conway was something of a “definite Reaganite, not unlike myself.” In a field not always known for the capacity of its creators to grow and change with the times, Conway was a model of graceful evolution.

It is surprising if Conway supported Reagan back in the day, but sad then that he changed considerably, and sadder still that the writer's gushing over all that, and sugarcoating the whole Floyd affair. But of course, not surprising.

As for what's said about how Conway approached the use of the Punisher - both character and symbol - in later years, that's nothing new by now, but that the magazine would gush all over his pivot to the far-left is appalling. As I've said before, there were positive and decent moments in Conway's writings up to the early 90s, prior to the time he shifted to TV scriptwriting, and that's why it's a shame he had to go out of his way to follow an increasingly far-left narrative that did more harm than good for comicdom, and also Hollywood. At least now that he's gone, it's easier to separate art from artist, and perhaps to attribute the Punisher's creation more to Romita than Conway. In any case, it's a shame that even years before Conway disowned Frank Castle, writers and artists like Frank Miller and Bill Mantlo weren't doing any favors with the questionable way they approached the character, no doubt with Conway's approval. Yet all the while, Wolverine gets a free pass on what the Punisher didn't. Come to think of it, even Jason Todd, the 2nd Robin in the Batman books, didn't get a free pass on supposedly killing a sexually violent criminal in 1988. Todd, IIRC, was also created by Conway, and his apparent acceptance of what DC and Jim Starlin did to that character could easily say something about whether he really cared about his creations too. Even if certain fictional characters are created for corporate ownership, does that mean a creator should remain quiet? Of course not.

So it's regrettable Conway had to follow a position even Stan Lee did, and not speak negatively about the places he worked for. Now, we're long seeing the terrible results of all that silence.

Specialty store in Athens, Georgia may have to move or close

Flagpole reports a specialty store named Bizarro-Wuxtry in Athens, Georgia will apparently have to either find another store unit other than the building it's currently located in, or close down:

Many shops go through eras. Bizarro-Wuxtry is living all of them all at once. The store is like an in-progress archaeological dig site. Each shelf and each room records a niche moment, adding to the story of the comic book species as a whole. “We try to represent all sides of comics,” explains manager Devlin Thompson, “with the emphasis more on art comics—stuff I can stand behind.” [...]

Unfortunately, Bizarro-Wuxtry now faces that most dreaded of comic book narrative devices: a forced reboot. An undisclosed buyer is purchasing the Shackleford building, which houses Bizarro-Wuxtry, Wuxtry Records, Native America Gallery, Cillies Clothing and Bear Hug Honey Co. While the ground-floor businesses may be left mainly intact, Thompson was told that the new owner hopes to start renovations on the upstairs floors soon.

Even when hard-pressed, Thompson says he cannot divulge further details: “We don’t have a date. We don’t know what’s happening. We’re looking at ideas.” The store will be operating on limited hours for at least the next month: Wednesdays and Saturdays from 12–6 p.m.

The shop recently posted an offer via Instagram to liquidate its inventory to any serious buyers. But, at the same time, Thompson expresses a desire to keep serving his loyal patrons despite the change in building ownership. “They do want us out of here,” he laments. “So we got to figure out how we work with that, but it’s my intent to be doing this one way or another. But how that works out, I don’t know, and it will not be on the second floor of the Shackleford building.”

It's certainly sad, but what I really wish they do for a "reboot" is to change from selling only so many back issues and other "collectibles" to far more trade paperbacks and hardcovers. Why won't most comic retail specialists consider that? The time has come, honestly, for somebody to set a better example in the retail market and establish a specialty store where paperbacks/hardcovers will be the prime emphasis. I wish some store managements would consider. For now, I wish Bizarro-Wuxtry good luck finding another location.

Adapting directly from overrated modern source materials is what's bringing down comics films

Inverse recently argued that direct reliance on certain source material for making a comics adaptation has only hindered such films, with Supergirl being the latest casualty:

In the early days, these movies were far more willing to bend comic book lore to the will of the screenwriter and director – the original Blade screenplay from David S. Goyer, rewrote the character’s origins — created by Marv Wolfman — to be set in America instead of London, a change that quickly made its way to the page, and many other superhero films took their own liberties with the source material as well. But now that the genre has become one of the most prevalent in Hollywood, these franchises have started plumbing the depths of canon with more intentionality, directly adapting iconic storylines and using that sense of “accuracy” as a key part of the marketing…a strategy that has earned mixed results. In the case of this year’s Supergirl, a movie currently being met with middling reviews and a disappointing start to its box office run, part of the criticism has been a lack of fidelity to the Woman of Tomorrow storyline that it’s predominantly based on. But here’s the thing: This criticism could’ve been avoided wholesale if the DCU hadn’t made that adaptational choice such a major factor in the writing and promotion of the movie.

I would just like to note that Goyer's a very overrated writer himself, and I'm not forgetting the time he made repellent remarks about She-Hulk over a decade ago, and the story where he depicted Superman throwing out his USA citizenship. Goyer may have proven a worse comics writer than a movie writer. With that noted, there's certainly an interesting point made here that decades ago, filmmakers had the creative license to build a story that stood on its own, wasn't based directly on any particular story or back issue, but drew certain ideas seen in the stories for developing a screenplay. Now, in an era where creative freedom's been all but taken away, they're almost literally obligated to adapt overrated modern miniseries that most film critics aren't willing to admit was hardly worth the effort compared to the films, and that is problematic.

And if there's a flaw in this article so far that needs to be addressed, it's that Blade first debuted in 1972-79's Tomb of Dracula series, becoming an ally to the main vampire hunting protagonists (Quincy Harker, Rachel van Helsing, et al). That series was set in the UK, and Blade did not have any kind of series at that time; he just made guest appearances in various series up to the early 90s, and if he got a series by that time, it may have been published under a brief imprint called Midnight Sons. So you know that Inverse's writers are again proving to make insufficient effort to do the math and connect the dots. Mainly because they perpetuate the sugarcoating of Tom King's miniseries, along with another error:

While there are quite a few other problems the film faces, it’s hard to ignore that its narrative issues stem from the decision to straightforwardly adapt Woman of Tomorrow in the first place. And at first glance, that seems like a strange takeaway – it’s a critically acclaimed storyline, and for years comic book fans have wanted to see films adapt iconic story arcs more directly. However, there’s a reason Woman of Tomorrow works on the page in a way the filmed version never could: it’s a story that operates as a deconstruction of Kara Zor-El and the unwavering optimism she has represented throughout her existence as a character. Exploring her buried grief regarding the destruction of her homeworld and her refusal to end a life takes on a new significance because she’s spent over 60 years of real-time storytelling suppressing her pain and upholding her golden rule – directly adapting WoT as Kara’s first DCU outing misses the metatextual nature of why the book works within the decades-long lineage of Supergirl as a comic book character.

That’s not to mention the ways in which the film outright changes certain elements of the story. In the book Krem is a despicable mass-murderer, but the fact that Ruthye and Supergirl banish him to the Phantom Zone instead of ending him forces him to reckon with his own failings as a human being and grow to feel genuine remorse for his crimes – making him a slaver and a trafficker almost demands he meet his end because a moviegoing audience truthfully just has a different tolerance for that kind of debauchery. Kara slaying him by the end fits a character who’s evil in a nastier way, but it also compromises the original intent of a story that’s ultimately about Kara and Ruthye preserving their own innocence and refusing to beat Krem in a way that validates his violent worldview.

So they're saying "deconstruction" is entirely acceptable? Sigh. Another serious mistake, right down to how they claim fandom wants to see more direct adaptations of anything. It all depends, and besides, whenever DC and Marvel produced miniseries past the early 2000s, they were some of the worst tales ever to litter the landscape. Also, I seem to recall that, when Batman caused the Joker to fall to his death from a helicopter in the 1989 film, that was done without any moralizing coming before or after. Even Superman 2 from 1980 didn't seem to do anything like that. Even the 1st Spider-Man movie from 2002 depicted the burglar who murdered Ben Parker falling to his death after Peter injured his hand to disarm him of the handgun. So if the new Supergirl film does wallow in heavy handed moralizing over whether to kill a repulsive villain, and ends with the Maid of Might jettisoning her earlier stance, isn't that another mistake in-screenplay?

Also, where do they get the idea a movie audience is more open to the idea of superheroes obliterating the worst of criminals, or that a comics audience isn't? All that does is suggest, on the one hand, that either/both are absurdly hypocritical, and it only makes for a more divisive situation.

Anyway, John Nolte at Breitbart's spoken about how the Supergirl film's sunk big time in 2 weeks:

Between production and promotion, Warner Bros. sunk around $250 million into Supergirl, which puts the break-even number at around $450 million, which means we’re looking at losses in the hundred million range, not to mention the damage done to the overall DC brand.

James Gunn’s Superman was not a very good movie, but it was good enough, good enough that people were willing to see what came next from his rebooted DC Universe. Supergirl is a drain on the one thing a successful franchise requires, and that’s goodwill. Next up, later this year from DC, is something called Clayface, which no one asked for.

We’ll see.

No, we won't. The spotlight on villains got out of hand in its own way, and it's a poor example of what to emphasize. Interesting there's no news so far that they may want to adapt characters like the Silver Age Atom to the silver screen, because that in itself could have clever potential, as could possibly a shape-shifter like Metamorpho. But under overrated filmmakers like Gunn, it's always possible such possibilities for adaptations could be as totally botched as the Supergirl film. Also, I don't think in the original comics, Superman and Supergirl had to be within the range of a yellow sun solar system proper in order for their powers to work. It's just that when within the confines of a red sun system, their powers were nullified, and I think there were times when red solar radiation was used as a plot point in at least a few pre-Crisis Superman stories as a way to portray a weakness in sci-fi terms without his being in a red sun system proper. One more reason this new live action movie is clearly theater of the absurd.

And in the end, once again, it's a terrible shame Supergirl's been subjected to such injustices and indignities as a comics creation, along with a movie adaptation. The sad result of only so much corporate neglect and mismanagement. But who knows if the box office receipts will convince the studios to allow screenwriters and directors more creative license to build a story they think is worthwhile? Even then, it'd require creatives who aren't heavy handed ideologues, and they're sadly in short supply in modern Hollywood.

Frank Miller makes the mistake of defending Neil Gaiman

Veteran leftist artist Miller was interviewed by the UK Telegraph at the Fastnet Film Festival in Ireland, and he still can't keep himself from pushing all the wrong buttons. First:

It’s hard to overstate Frank Miller’s cultural impact over the past four decades. It was Miller, the artist and writer behind The Dark Knight Returns, 300 and Sin City, who redefined comics from kids’ stuff into something darker and more adult – noirish, dystopian and morally ambiguous. Without Miller, Tim Burton and Christopher Nolan’s Batman films wouldn’t exist; without Miller, the whole movie superhero phenomenon might never have happened at all.

And I guess Denny O'Neil, Steve Englehart and Chuck Dixon don't matter, huh? Only Miller; how nice to know only so many other decent Batman writers don't count the tiniest bit. Predictably, no objective view of "something darker" and "morally ambiguous", as though that's totally above criticism. As for Miller himself, what matters to him? Left-wing "causes":

Still, he’d take that New York, “for all its despair and menace and its degradation”, he tells me, over the one that exists now. The city “in those dark Seventies”, he says, had a spirit of defiance, “a sense of shared safety and, well, there’s no other word for it, love. I don’t believe it does now. We have a militarised police, those horrific ICE agents are nothing less than a Gestapo, and the city itself has been so mismanaged for so long. As scary and grim as things were in the Seventies, there was not the overall stink of totalitarianism that there is throughout America today.”

Is the incumbent president an archetypally corrupt, money-grabbing Frank Miller political villain? “He’s grotesque,” Miller spits, comparing Donald Trump to Darth Vader without his mask. He invokes the characters that the co-creator of Captain America, Jack Kirby, conjured when the Nazis were rampaging across Europe. “Kirby several times recreated Adolf Hitler as a comic-book character. One of them was named Hate-Monger, and that one certainly applies to Trump, because he spews hatred, and he calls on that part of the human spirit in his rhetoric, and you see it on the faces of his followers – the naked racism, the naked sexism, the belligerence.”

It's so sad Miller continues to spew hatred at Trump for all the wrong reasons, and all without clearly backing up his complaints with concrete evidence. And all the while, Miller turns a deaf ear and blind eye to the Iranian ayatollahs, who preached what he speaks of, and Miller's ignorance only dampens whatever impact he must want his GNs to have. That Miller also attacks ICE and refuses, much like his other leftist colleagues he doesn't have the courage to distance himself from, to consider what heinous crimes any illegal immigrants have committed within the USA's borders. The really sad thing is that, if we take Mark Levin's criticisms as an example, there are valid issues one can make when it comes to Trump's managements, yet Miller acts oblivious to all of that. So again, if Miller believes Sin City's a masterpiece, why does he make it look like a joke as a result of his far-left stances? There's also quite a goof in this Telegraph article:

Those early days were exciting. New influences were flowing into Manhattan via the first Forbidden Planet comic-book store, where Miller mainlined the work of Japanese and European masters. His first creator-owned work, Ronin (1983-1984), was a sci-fi samurai mash-up set in contemporary New York that incorporated a wild mix of influences, with manga writ large. Some complain of cultural appropriation in borrowing from other traditions. Miller says, “I welcome any such activity. America is an amalgam of cultures… If we could, I’d love us to learn from Martians.”

Umm, doesn't contemporary mean "modern"? I read Ronin years ago, and putting aside for now that it was overrated, I seem to recall it was set in a future time. Maybe not that far into the future, but it was set years ahead all the same. Gee, what a stupid typo they put to use there. Surprising though, that Miller upheld drawing from foreign cultures, considering how limp his positions are on any subjects involving serious issues like what Sin City may be about. Unfortunately, that's about as far as he may go by now in defense of anything creative and challenging.

There’s a humorous, upbeat quality to Miller that belies the sometimes Stygian darkness of his work. His physical trials – his neck is bent by an undisclosed condition into a position that is visibly limiting – do not daunt him; he declares himself “reborn” as an artist, rather than compromised by his posture. He draws with dramatic vigour, using techniques that embrace the unpredictable. Blood spatters across his pages. Miller achieves the effect by dipping a toothbrush into ink and pulling back the bristles with his thumb to send droplets flying across his creations.

And we're supposed to be utterly impressed and thrilled by his use of bloodletting? What's so "unpredictable" about that? It's actually been quite a cliche for goodness knows how long. That aside, here's what they say about certain other parts of the content:

In Sin City (1991), the men are staggeringly brutal and the women are almost all sex workers. “As far as misogyny goes,” Miller says, “I laugh about it because all you have to do is just read my work. [The accusations] might be because I draw the women as attractive, but in Daredevil, for instance, who’s the most powerful character you remember? It’s Elektra… When it comes to Sin City, yes, I draw the women to be as sexy as possible, but they have their own neighbourhood that they police by themselves. They’re a pack of Amazons.” He is, he insists, not the least bit misogynistic himself.

He’s been accused of Islamophobia, too, after penning Holy Terror in 2011, a graphic novel that he writes “was created in a bloodthirsty rage” after the attacks on New York City on September 11. He had originally conceived it as a story in which Batman simply “kicks Al-Qaeda’s ass”, but instead it “sparked a fire of criticism, some of it warranted”. “It was a howl of pain and rage, and an inarticulate one. I’ll just leave it at that,” he tells me.

On the subject of how he draws women, yes, it's quite possible PC advocates over the years attacked him just for that, but apparently not for the violent content he's decidedly notorious for drawing in the Sin City series. As for the Holy Terror GN, again, it's regrettable he first decided to say 8 years ago that he regrets it, because for somebody who claims he's not a misogynist, he's letting a religious ideology wallowing in just that off the hook. It may have been "inarticulate", but that's surely because he never studied anything about Islam and didn't defend his work based on that. Making matters worse, the same guy who says he's not a misogynist then goes on to defend another writer who was accused of just that:

Generally, Miller is not interested in slanging matches. He says that it would please the media if “I spent half an interview” talking about the embattled writer Neil Gaiman – accused in 2024 of sexual assault by multiple women, which Gaiman denies – “saying, ‘He’s not just a terrible writer, he’s a bad person.’ You know, something crazy like that, when he’s a lovely person, he’s a terrific writer.”

Oh good grief, does he realize he's giving serious detractors a statement to use against him? The same artist and writer who said earlier he's not a misogynist destroys his defense by acting as an apologist for a man who turned out to be scummy. Is Miller doing this because he's worried his recent documentary, American Genius, will suffer in sales due to Gaiman's contributions to it? Well that's partly Miller's fault, as he probably didn't think to vet most of the people who chipped in while preparing the production.

Now the memoir is done, he’s writing a story for the 1,000th issue of Spider-Man in September. Does he still feel affection for those old characters? “Oh God, yes,” he says. “That’s the stuff I grew up on. I’m so fond of it.” And does he think the success of the Marvel Cinematic Universe has been bad for print comics? “I don’t know how good it’s been for movies,” he says with a sly laugh.

What of the prospect of a real “superman” in the near future, as robots and AI continue to advance? “It’s not gonna be that,” he says. “AI is a false god… [and] it’s making for some bad writing.” Meanwhile, this thoroughly human creative engine is still thinking about what he wants to do next – Beowulf, perhaps. Or Der Ring des Nibelungen. “There are an awful lot of stories,” he says.

Well Miller's offering up some very bad commentary ensuring he won't be the most famous creator to come about in the late 20th/early 21st centuries. One of the worst things about modern comics movies is that they did come at the expense of the zygotes, and while Miller may claim to have affection for even Spidey, his failure to address the erasure of the Spider-marriage can speak volumes. It won't be shocking if the 1000th Spidey issue spoken of turns out to be heavily mandated, with C.B. Cebulski prohibiting a reinstatement of the marriage with Mary Jane Watson. So why tell us about the upcoming "anniversary" or even about his new memoir, Push the Wall? After this insult to the intellect from a guy who doesn't seem to understand the importance of consistency, I'd rather not waste my time on either. Miller's problem is that he simply won't keep his mouth shut, and recognize that obsessions like his with figures like Trump doesn't make him a realist. Miller's only proving he's one of the most disappointing artists in comicdom today, and then, if his recent projects were failures, we shouldn't be surprised why. With a few exceptions like Daredevil and maybe Batman: Year One, he is pretty overrated as an artist and writer. And his defense of Gaiman is very troubling.

Kingston's first game convention gives a role to Canadian comics creators

The Kingston Whig-Standard wrote about the first video game convention being held in the Ontario city, where even comics creators had a role:

Indie game developers, esports competitors, comic book creators, and pop-culture enthusiasts gathered at Slush Puppie Place this past weekend for the inaugural Eh! Game Expo.

The event was a three-day festival that organizers hope will become an annual event in Kingston. The expo featured esports competition, cosplay, trading card games, artists and exhibitors from across Ontario and Quebec.

The event also included the Fight for the Throne esports tournament, bringing competitive players together for games such as Super Smash Bros. Ultimate, Street Fighter 6, Tekken 8 and other fighting titles.

Among those showcasing their creative work was Chris Cochrane, a longtime musician and teacher who moved to Kingston nearly a decade ago. That’s when he decided to revisit a dream he first pursued as a young artist: creating comic books.

For Cochrane, founder of Kingston-based Machete Comics, the expo was more than a business opportunity. He saw it as evidence that a community centred on comics, gaming and fan culture is continuing to grow in Kingston.

“I knew that I wanted to do comic books,” Cochrane said. “I figured this is a trilogy in life. This is the third chapter in a trilogy.”

Well good luck to him on his productions. But, the guy unfortunately couldn't resist bringing up a political complaint:

Cochrane cited recent trade tensions and the rising cost of selling books in the United States as key factors in swaying his interest more heavily toward Canadian stories and local creators.

“Because of the tariffs, one of my comic books costs about 40 bucks in the U.S. now,” he said.

Oh good grief, can it really cost that much, tariffs or none? I thought those applied more to distribution and delivery than the list prices on the books themselves. It would seem some Canadians just aren't willing to take issue with their local government and what it's doing wrong, and the aforementioned Tom Grummett was one such person.

I think more Canadian storytelling can be a great thing, but they should seriously leave grudges with the USA and Trump out of this. The same can be said for the video games industry.

Insufficient reactions from industry insiders to the Andrew Farago scandal

I looked to see if any comics writers and artists responded to the reports of the disgraced Andrew Farago being arrested for invasion of privacy felonies. So far, I couldn't find many at all. One who did respond was Gail Simone, of all people, on Facebook: So she's claiming she only spoke with Farago briefly through the mail. But what if there was more correspondence? In any case, somebody as leftist as Simone sadly is doesn't qualify as "moral authority" on the subject that turned up in the past few weeks. Some of the positions Simone took in the past decade only render her "arguments" moot, one more reason it's a shame anybody follows her on social media.

If we were to also quote somebody else who responded to the above post, it's the onetime comics editor Peter Sanderson:

It’s now happened to me three times that a comics pro whom I knew ended up in a sexual scandal. That’s disturbing. I suppose that many sexual predators function by seeming normal in public while having unpleasant secret lives. But I will continue to assume that people are what they seem to be until and unless unpleasant facts emerge about them. How can we function in society otherwise?

One way is to speak about these things more openly, and make clear that partisan politics can't get in the way of being vigilant and making clear sexually abusive behavior is unacceptable. And it's vital to ponder that many predators and perverts can have double or multiple personalities to disguise their actions. Perhaps if we quizzed some people on their overall personal character, we might be able to figure out whether certain individuals are worth supporting or not.

One more we could add is Tess Fowler Guittirez, who said:

It should be recalled, however, that Fowler may have once made unsubstantiated accusations against another writer/artist, and that doesn't help matters either. Those who seize upon scandals like these for the sake of opportunism are not improving the situation.

If there's more creators out there, old and new, I have yet to find them. 2 of those I've found commenting so far certainly don't have the best records to prove they're being altruistic. And when the vast majority of creators don't say a word, what was the point of that "pledge" they took years ago?

Marvel turns out the latest modern swimsuit special

Following up on the revived swimsuit special of the past year, Marvel's now publishing one for 2026, and Flickering Myth's got preview pages, but again, there's signs this'll be anything but a celebration. For one thing, as AIPT notes:

Kicking things off is Daniel Kibblesmith and Alessandro Miracolo for “Beach Bashed,” featuring a beach party hosted by Namor. A great opening page shows off a ton of heroes enjoying a pool, including the Watcher. Kibblesmith gets plenty of nods to Marvel events and character relationships throughout the story, with a main focus on Namor’s attempt to find Sue Storm. It’s a light tale for sure, but one that ends in a way only Namor could pull off.

If memory serves, Kibblesmith's one of the SJWs they employed earlier, and while it may seem like he's now willing to abandon that kind of stance, there's still signs the artwork is uninspired and otherwise sexless, and they still rely on the panel format used in the 2 earlier specials. It reminds me that, while some of the artwork in the Winter Break Special was marginally better, that special was still undermined by how they kept interrupting the artwork pages with a "story" that took up at least 15 pages, leaving the overall special with barely 16 or 17 pages of winter-based illustrations of various Marvel cast members, considerably less than the original swimsuit specials had over 3 decades ago. And the drawing of Elektra in the Winter Break special was particularly dull.

So again, I'm not sure why they're keeping on with this now, as they fail, beyond contributions from artists like J. Scott Campbell for variant covers, to offer anything that's seriously impressive. It underscores how poor the art world's becoming these days, at least according to how the mainstream hires them. And what do they mean by Namor being the "only one who can pull it off"? Isn't that provided the writer actually does a good job? Something that's been terrible lacking for over 2 decades now.